Question

And the mother often says"Don't be like n******" when the children are bad. A frequent phrase from the father is, "Look how well a white man does things." And so the word white comes to be unconsciously a symbol of all virtues. It holds for the children beauty, morality, and money. The whisper of "I want to be white" runs silently through their minds. This young poet's home is, I believe, a fairly typical home of the colored middle class. One sees immediately how difficult it would be for an artist born in such a home to interest himself in interpreting the beauty of his own people. He is never taught to see that beauty. He is taught rather not to see it, or if he does, to be ashamed of it when it is not according to Caucasian patterns.
In at least 150 words, discuss the unconscious symbol of whiteness that is examined in "The Negro Artist and the Racial Mountain." Where does it come from, and why does it have the potential to be so damaging?

Answer 1

This may not be right, but this is what I put...
The unconscious symbol of whiteness which is examined in "The Negro Artist and the Racial Mountain" comes from what was happening against African Americans at the time of when this was written. In this essay Hughes explores the pressure on black artists, especially those from the educated middle and upper classes, to please white audiences. Not only is there pressure from whites; these African Americans want to be artists in a white mode—to write, paint, sing, or dance as white people would. As Hughes puts it; "But this is the mountain standing in the way of any true Negro art in America".

Answer 2

Answer:

The oblivious image of whiteness which is inspected in "The Negro Artist and the Racial Mountain" originates based on what was occurring against African Americans at the season of when this was composed. In this article Hughes investigates the weight on dark craftsmen, particularly those from the informed center and high societies, to please white groups of onlookers. Not exclusively is there weight from whites; these African Americans want to be specialists in a white mode—to compose, paint, sing, or move as white individuals would. As Hughes puts it; "Yet this is the mountain obstructing any evident Negro craftsmanship in America".